The Dirty Dozen Brass Band

Total Page：16

File Type：pdf, Size：1020Kb

The Dirty Dozen Brass Band Celebrating over 40 years since their founding in 1977, New Orleans-based Dirty Dozen Brass Band has taken the traditional foundation of brass band music and incorporated it into a blend of genres including Bebop Jazz, Funk and R&B/Soul. This unique sound, described by the band as a ‘musical gumbo,’ has allowed the Dirty Dozen to tour across 5 continents and more than 30 countries, record 12 studio albums and collaborate with a range of artists from Modest Mouse to Widespread Panic to Norah Jones. Forty-plus years later, the Dirty Dozen Brass Band is a world famous music machine whose name is synonymous with genre- bending romps and high-octane performances. Roger Lewis - Baritone Sax/Vocals Kevin Harris - Tenor Sax/Vocals Gregory Davis - Trumpet/Vocals Kirk Joseph - Sousaphone TJ Norris - Trombone/Vocals Julian Addison - Drums Takeshi Shimmura - Guitar The History of the Dirty Dozen Brass Band In 1977, The Dirty Dozen Social and Pleasure Club in New Orleans began showcasing a traditional Crescent City brass band. It was a joining of two proud, but antiquated, traditions at the time: social and pleasure clubs dated back over a century to a time when black southerners could rarely afford life insurance, and the clubs would provide proper funeral arrangements. Brass bands, early predecessors of jazz as we know it, would often follow the funeral procession playing somber dirges, then once the family of the deceased was out of earshot, burst into jubilant dance tunes as casual onlookers danced in the streets. By the late '70s, few of either existed. The Dirty Dozen Social and Pleasure Club decided to assemble this group as a house band, and over the course of these early gigs, the seven-member ensemble adopted the venue's name: The Dirty Dozen Brass Band. .

Copy Link

Recommended publications

Japan Loves New Orleans's Music
University of New Orleans ScholarWorks@UNO Senior Honors Theses Undergraduate Showcase 5-2017 Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 William Archambeault University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/honors_theses Part of the Oral History Commons, and the United States History Commons Recommended Citation Archambeault, William, "Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017" (2017). Senior Honors Theses. 94. https://scholarworks.uno.edu/honors_theses/94 This Honors Thesis-Unrestricted is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Honors Thesis-Unrestricted in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Honors Thesis-Unrestricted has been accepted for inclusion in Senior Honors Theses by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Nihon Wa New Orleans No Ongaku Ga Daisukidesu (Japan Loves New Orleans’s Music): A Look at Japanese Interest in New Orleans Music from the 1940s to 2017 An Honors Thesis Presented to the Department of Interdisciplinary Studies of the University of New Orleans In Partial Fulfillment of the Requirements for the Degree of Interdisciplinary Studies, with University High Honors and Honors in Interdisciplinary Studies by William Archambeault May 2017 Archambeault i Acknowledgments This undergraduate Honors thesis is dedicated to Travis “Trumpet Black” Hill, a New Orleans trumpeter who died in Tokyo, Japan, on May 4, 2015, while touring Japan.
[Show full text]
First Steps with the Drum Set a Play Along Approach to Learning the Drums
First Steps With The Drum Set a play along approach to learning the drums JOHN SAYRE www.JohnSayreMusic.com 1 CONTENTS Page 5: Part 1, FIRST STEPS Money Beat, Four on the Floor, Four Rudiments Page 13: Part 2, 8th NOTES WITH ACCENTS Page 18: Part 3, ROCK GROOVES 8th notes, Queen, R.E.M., Stevie Wonder, Nirvana, etc. Page 22: Part 4, 16th NOTES WITH ACCENTS Page 27: Part 5, 16th NOTES ON DRUM SET Page 34: Part 6, PLAYING IN BETWEEN THE HI-HAT David Bowie, Bob Marley, James Brown, Led Zeppelin etc. Page 40: Part 7, RUDIMENTS ON THE DRUM SET Page 46: Part 8, 16th NOTE GROOVES Michael Jackson, Erykah Badu, Imagine Dragons etc. Page 57: Part 9, TRIPLETS Rudiments, Accents Page 66: Part 10, TRIPLET-BASED GROOVES Journey, Taj Mahal, Toto etc. Page 72: Part 11, UNIQUE GROOVES Grateful Dead, Phish, The Beatles etc. Page 76: Part 12, DRUMMERS TO KNOW 2 INTRODUCTION This book focuses on helping you get started playing music that has a backbeat; rock, pop, country, soul, funk, etc. If you are new to the drums I recommend working with a teacher who has a healthy amount of real world professional experience. To get the most out of this book you will need: -Drumsticks -Access to the internet -Device to play music -Good set of headphones—I like the isolation headphones made by Vic Firth -Metronome you can plug headphones into -Music stand -Basic understanding of reading rhythms—quarter, eighth, triplets, and sixteenth notes -Drum set: bass drum, snare drum, hi-hat is a great start -Other musicians to play with Look up any names, bands, and words you do not know.
[Show full text]
Rhythm, Dance, and Resistance in the New Orleans Second Line
UNIVERSITY OF CALIFORNIA Los Angeles “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Benjamin Grant Doleac 2018 © Copyright by Benjamin Grant Doleac 2018 ABSTRACT OF THE DISSERTATION “We Made It Through That Water”: Rhythm, Dance, and Resistance in the New Orleans Second Line by Benjamin Grant Doleac Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Cheryl L. Keyes, Chair The black brass band parade known as the second line has been a staple of New Orleans culture for nearly 150 years. Through more than a century of social, political and demographic upheaval, the second line has persisted as an institution in the city’s black community, with its swinging march beats and emphasis on collective improvisation eventually giving rise to jazz, funk, and a multitude of other popular genres both locally and around the world. More than any other local custom, the second line served as a crucible in which the participatory, syncretic character of black music in New Orleans took shape. While the beat of the second line reverberates far beyond the city limits today, the neighborhoods that provide the parade’s sustenance face grave challenges to their existence. Ten years after Hurricane Katrina tore up the economic and cultural fabric of New Orleans, these largely poor communities are plagued on one side by underfunded schools and internecine violence, and on the other by the rising tide of post-disaster gentrification and the redlining-in- disguise of neoliberal urban policy.
[Show full text]
Great Music Begins with Great Songs, and Great Songs Are What the Honey Island Swamp Band Is All About
Honey Island Swamp Band Announces Their New Album, Wishing Well NEW ORLEANS — Great music begins with great songs, and great songs are what the Honey Island Swamp Band is all about. When they formed the band, Aaron Wilkinson and Chris Mulé had already established promising songwriting careers, both individually and as a team. Collaborating with fellow songwriter and Alligator Records recording artist Eric Lindell, the two were instrumental in the writing for Lindell’s acclaimed 2008 release Low on Cash, Rich in Love. With Wishing Well, the first full-length release from Honey Island Swamp Band, both musicians bring their songwriting to new levels with their most fully-developed material to date. From the opening bars of the title track to the album’s final note, Wishing Well covers the entire landscape of southern roots music that has made the band’s live shows and eponymous 2007 EP favorites among music lovers of all genres. Rockers like “Wishing Well” and “Seeds and Stems” evoke Exile on Main Street-era Stones, while the mid-tempo funk of “Natural Born Fool” and “Till the Money’s Gone” capture the bluesy soul of Delbert McClinton and early Black Crowes. Classic country fans will recognize the bar- room emotion of “I Can Tell” and “Dark End of the Bar,” while R&B lovers will appreciate the New Orleans flavor of “Killing Me” and the Stevie Wonder-esque “Expression of Love.” Eleven of the album’s thirteen songs testify to the strength of Wilkinson and Mulé’s songwriting, while inspired covers of Washboard Sam’s “Sophisticated Mama” and William Bell’s “You Don’t Miss Your Water” reflect the band’s wide range of influences.
[Show full text]
Soprano Cornet
SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor
[Show full text]
Brass Instruments
Course Content - Brass Instruments Introduction to Brass Instruments • Instruments are considered to belong in the Brass family if they make their sounds because of vibrations from the mouth and a mouthpiece. • Brass instruments are not necessarily made of brass. For example, the Digeridoo is a brass instrument made of wood. • The shape of the tube in a brass instrument is called a bore. The size and shape of the bore creates the sound of the instrument. • There are two shapes of bores: Cylindrical and Conical. • A Cylindrical bore stays the same width from beginning to end. A Conical bore gets wider as it progresses. • The very end of a brass instrument is called the Bell. • The two brass families are the Valved and Slide families. The only instrument in the slide family is the Trombone. • Valves on brass instruments are used to change the note by changing the size or length of the tube. Large and Medium Sized Brass Instruments • The largest instrument in the brass family is the Tuba. It plays the lowest notes. • The Sousaphone was invented to replace the Tuba in a marching band. It is designed to be carried. • Sousaphones are often made of lightweight fiberglass. • One of the oldest brass instruments is the Trombone. The slide of the trombone controls the notes instead of valves. • The French horn is the only brass instrument that is played left-handed. Music in Life Lesson: The Music in Life lesson is a moment to engage in active listening. The Music in Life lesson song for this course is "Flight of the Bumblebee” by Canadian Brass.
[Show full text]
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
[Show full text]
Victorian Brass Bands: the Establishment of a 'Working Class Musical Tradition'
HERBERT 1 VICTORIAN BRASS BANDS: THE ESTABLISHMENT OF A 'WORKING CLASS MUSICAL TRADITION' Trevor Herbert y the end of Queen Victoria's reign, brass bands were one of the principal focuses of community music making in the United Kingdom. There were, if we are to believe the optimistic forecasts in one publication, 40,000 of them.1 Such a Bstatistic would indicate that the number of people playing in brass bands by the end of the century was something in the region of 800,000. At about the same time, audience attendance at open air brass band contests was, according to the highest estimate, 160,000 at a single event. This figure was quoted in the popular press following the 1900 National Brass Band Contest at the Crystal Palace. It should not, of course, be taken literally, but it is probably a good indicator of popular impression. When Queen Victoria ascended to the throne in 1837, the term '"brass band" meant nothing more than an ensemble of miscellaneous wind instruments in which brass instruments were prominent. At the end of the century the term was more closely defined. Brass bands had become the raison d'etre for a discrete but significant segment of the British music industry and for a widespread and intricate organizational structure that was largely controlled by working-class people. Since the end of the nineteenth century, the British brass band has had a standard line up of instruments - cornets in Bb (4 'solo', 2 seconds, 2 thirds plus one 'repiano'), 1 soprano cornet in Eb, 1 flugel horn in Bb, 3 tenor saxhorns in Eb, 2 baritone saxhorns in Bb, 2 euphoniums in Bb, 2 Eb basses, 2 BBb basses, 2 tenor trombones, 1 bass trombone, and percussion.
[Show full text]
Bobby Watson Kirk Knuffke Guillermo Gregorio Horace Silver Coltrane
AUGUST 2019—ISSUE 208 YOUR FREE GuiDe TO THE NYC JaZZ SCENE NYCJaZZRECORD.COM RAVICOLTRANE next trane comin’ bobby kirk GuiLLERMo horace watson knuffke GREGorio siLver Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East AUGUST 2019—ISSUE 208 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 new york@niGht 4 Laurence Donohue-Greene: interview : bobby watson 6 by ken dryden [email protected] Andrey Henkin: artist feature : kirk knuffke 7 by john sharpe [email protected] General Inquiries: on the cover : ravi coLtrane 8 by russ musto [email protected] Advertising: encore : GuiLLERMo GREGORIO 10 by steven loewy [email protected] Calendar: Lest we forGet : horace siLver 10 by scott yanow [email protected] VOXNews: LabeL spotLiGht : aLeGre recorDs 11 by jim motavalli [email protected] VOXNEWS by suzanne lorge US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or obituaries 12 by andrey henkin money order to the address above or email [email protected] festivaL report 13 Staff Writers Duck Baker, Stuart Broomer, Robert Bush, Kevin Canfield, cD reviews 14 Marco Cangiano, Thomas Conrad, Pierre Crépon, Ken Dryden, Donald Elfman, Phil Freeman, Miscellany Kurt Gottschalk, Tom Greenland, 31 George Grella, Tyran Grillo, Alex Henderson, Robert Iannapollo, event caLenDar Mark Keresman, Marilyn Lester, 32 Suzanne Lorge, Marc Medwin, Jim Motavalli, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Anna Steegmann, Scott Yanow Contributing Writers Brian Charette, George Kanzler, Improvisation is the magic of jazz.
[Show full text]
Dirty Dozen Brass Band from Purists to Those Who Prefer Fourth Offering in the Formation Call 463-9670
Page 6. The VMI Cadet. February s. 1967 At Ease Sound Off Curran Bowen by: Scott McCumber The Housemartins—"London Mid-Winter 0 Hull 4" Once gain, the subject of this week's column is an English band, and once again, the music Weekend is good. Sorry to disappoint all the American music lovers, but Mid winters already 1 Can you together a great show not to be the sad fact is that a rather believe it? There is no need wor- missed. large majority of the new music rying about what's happening. Also Saturday is the continua- is from England. It is time to take a break from tion of the W&L Superdance. Another new band, "The the books and recouperate this This fund raiser for Muscular Housemartin's "London O Hull weekend. Distrophy Association features 4" is an exceptional piece of Friday night is the formal hop SG & L and the White Animals. work. (By the way, anyone who right here at VMI in Cocke Hall. Cost is about $10. Look for a knows the meaning behind the The gals will be dolled up and possible permit. (Thanks Kevin album's title feel free to let me ready to party with the Mighty Alvis.) know). The music on the album Majors. Don't let them down And to cap off this weekend, is fast paced and exciting. Most fellas. as if it's not enough, ZoUman's of the songs contain a "guitar If Post is cramping your style Pavillion opens Sunday from 1 Billy Idol *'Whiplash Smile' solo of some repute," and there and you are on the road, then to 5 p.m.
[Show full text]
Euphoria Brass Band, a San Diego Music Award 3 P.M
Summer Brass Funk Explosion! Saturday, July 27 Euphoria Brass Band, a San Diego Music Award 3 p.m. Winner, is an exciting and unique San Diego-based musical collective serving up a contemporary mix Library Lawn of old school New Orleans traditional brass band jazz, funky street beats and new school edginess with a West Coast feeling! Embracing the exciting spirit of jazz improvisation with hard edge funk, Limited seating is available, the critically acclaimed and award-winning feel free to bring your own lawn Euphoria Brass Band has become known for their chairs to enjoy the concert. incendiary high-energy shows! This Summer Festival Event is made possible by the Friends of the Library. ABOUT THE BAND Euphoria Brass Band is a critically acclaimed and award winning San Diego based musical collective that serves up a contemporary mix of old school New Orleans traditional brass band jazz, funky street beats and new school edginess with a West Coast feeling! Euphoria Brass Band has become a Southern California favorite, playing many high profile music venues, festivals, and parades. Euphoria Brass Band was awarded the 2019 San Diego Music Award in the Best Jazz category! EBB was created in 2011 by two New Orleans transplants, Ron Bocian and David Bandrowski and local jazz radio DJ, Drew Miller. They quickly assembled a top notch, hard-hitting horn section: Steve Ebner (trumpet), April West (trombone), David Jackson (tenor sax), JP Balmat (baritone & alto sax, clarinet) and Wayne Rice (sousaphone). Euphoria Brass Band is proud to have been nominated 5 years in a row for various San Diego Music Awards since their inception in 2011! EBB always leaves ‘em wanting more! Euphoria Brass Band has had the honor of sharing the stage with some of New Orleans music’s royalty: Dr.
[Show full text]
SUPERSTARS of BRASS 10 Great Videos to Watch from Some Legends of Brass
SUPERSTARS OF BRASS 10 great videos to watch from some legends of brass. 1. TINE THING HELSETH – Haydn Trumpet Concerto, 3rd Movement https://youtu.be/ASB6hFUat4g 2. JOHN FLETCHER (tuba) – Flight of the Bumblebee https://youtu.be/2-NVMsj6lXA 3. BLACK DYKE BAND – Hedwig’s Theme https://youtu.be/kXI3pKiVa3A 4. MILES DAVIS – Ascenseur pour l’Echafaud (Lift to the Scaffold) https://youtu.be/PW-SxgZViuk 5. CAROL JARVIS (trombones) – Back to the Future https://youtu.be/bq9xBEpBrwM 6. MNOZIL BRASS – James Bond https://youtu.be/b9PCyUIg4u4 7. RADOVAN VLATKOVIC – Mozart Horn Concerto no.4, 3rd movement https://youtu.be/jbuELxd54nY 8. ARTURO SANDOVAL – A Night in Tunisia https://youtu.be/6A3SX9LOGQs 9. CAROL JANTSCH (tuba) – The Carnival of Venice https://youtu.be/hu52NuHjx5M 10. DIRTY DOZEN BRASS BAND – My feet can’t fail me now https://youtu.be/ASGn9H5fdPM Suggested Activites Choose one or more of the following activities to have a go at, related to brass playing: 1. Which video did you enjoy most? What was it about the music that made you enjoy it? What type of music was it? (eg Classical, Jazz, Latin). Which instruments could you hear or see in the video? 2. Choose your favourite player or group from video selections. Do some research on them and write a short biography about them. It needn’t be any longer than half a page of A4. If they are a soloist, I’d like to know their date of birth, where they were born, when they started playing their instrument and which groups or orchestras they played with.
[Show full text]